2021.07.26 | By Gregory Nagy §0. Continuing the essay that started with Part One, culminating in a second look at the first word in Song 1 of Sappho, where the goddess Aphrodite is invoked as poikiló-thronos, I return here in Part Two to my proposed interpretation of this word as ‘wearing [a dress decorated with] pattern-woven flowers’. In the illustration for Part One, I already showed a picturing of such… Read more
2021.07.19 | By Gregory Nagy §0. In this essay, I make a distinction between, on the one hand, what I describe as a receivership of Sappho in the world of Classics today and, on the other hand, the variegated reception of Sappho in the world of ancient Greek song culture. In making such a distinction, I repeat a term I once used—only once ever before in Classical Inquiries (Nagy 2015.12.31,… Read more
2021.07.12 | By Gregory Nagy §0. Reading the words of Sappho’s songs, we cannot picture her looks, that is, we cannot imagine what she looked like—I say it here in colloquial English. But we can readily imagine what she looked at—especially the beautiful things, the beautiful people. In this essay, I can show that Sappho’s looks in the ancient world—the way she looked—could be pictured as a mirroring of the… Read more
Translated by Natasha Bershadsky Dioscuri The bodies, sturdy, in their sinewy nature, there is a symmetry. Their youth is a sacrifice to the goddess and the goddess recompensed it. If death were a recompense there would be no living to remember the dead and the exertion of the heroes toward… Read more
2021.07.05 | By Gregory Nagy §0. This essay picks up from where I left off in a succession of two previous essays (Nagy 2021.06.14, linked here, and Nagy 2021.06.21, linked here). In both those essays, I concentrated on evidence that I gathered from the surviving fragments of the Hesiodic composition known as The Suitors of Helen. On the basis of that evidence, I ended the second of the two essays… Read more
posted 2021.06.24, to be reperformed 2021.06.30 | By Gregory Nagy §0. This presentation offers friendly criticism of the views of classicists who use such terms as "text" and "reperformance" without fully taking into account various comparative perspectives that have for some time been made available by way of typological descriptions of "live" performance as observed and analyzed in a wide variety of ethnographical studies. Read more
